Lights, Camera, Love (A Metfilm graduation short)

Say hello to sparkly meet-cutes, slow-motion kisses, and romantic gestures that will have you swooning.

Donate today, and we’ll throw in:

A HAPPY ENDING

UNFORGETTABLE MOMENTS

AND FIREWORKS 

ABOUT THE FILM

For Maya, love is like a movie: predictable, structured, and full of familiar tropes. But real life doesn’t always follow the script.

WHY THIS FILM NOW?

'We’re making Light, Camera, Love because we believe in storytelling that challenges, surprises, and respects its audience. Too often, the film industry prioritises familiarity over originality, churning out sequels and reboots that recycle the same ideas rather than taking creative risks.

This film is our response: a darkly comedic, satirical take on nostalgia, control, and the dangers of treating life like a scripted story.

At its core, Lights, Camera, Love is about the battle between authenticity and artificiality, reflecting the struggle many creatives face today. We want to push boundaries, question conventions, and prove that audiences deserve more than just the same stories repackaged. With your support, we can make this film happen… and if we sell out later with a trilogy and a spin-off, know it all started here’

OUR CREW

BRANDON WILLIAMS

Hey, I'm Brandon, and I am the writer.  I personally am most excited about seeing the humour of the script come through the actors onto the screen and seeing people's reactions to the jokes and story.

THOMAS DOOLIN

I’m Tom, co-director and co-writer of Lights, Camera, Love. What excites me most about this project is the endless sequels and reboots we’ll inevitably churn out, each one stripping away more originality and character until all that’s left is a hollow, marketable husk of its former self. Hurray!

ZARA MACFARLANE

I’m Zara, the co-director and co-producer of LCL. What thrills me most about this project is the paycheck. I mean the artistic journey. Yes. That. 

CARYS LEWIS-WATSON

Producer, DoP 

Looking forward to making LCL look incredible on screen, while having a minor existential crises off it!

CHARLES SMITH

Social Media, Line Producer 

What I’m most excited for with this project is all the fun social media promos, as well as being with the team and building bonds with everyone. In addition seeing the final product.

YOGGI SANSOM

Creative/Transmedia Producer  

I'm most excited for creating our identity across all the socials and give a platform for the film to perform on, giving access to the public to see the our world we have made

EMMA BROKENSHIRE

Hi I’m Emma, my role is first assistant director and social media, I’m so excited to begin filming and bring this film to life.

ALLAN KIZA

Hello I’m Allan. I am the film distributor and costume assistant. I am excited about visually communicating character descriptions with other details of the story through costume and doing audience research to send our film to the right festivals, where the audience are more likely to attend.

DEANNA PAXTON

Hi, I’m Deanna, the production designer for Lights, Camera, Love. I’m thrilled to bring the film’s world to life with a nostalgic blend of vintage pieces from the ’90s and 2000s.

MARLA O’BRIAN

Hi I’m Marla the co-production designer for Lights, Camera, Love! I’m most excited to lean into the 90/00s art style of the film that holds a lot of nostalgia for our crew and target audience.

MEGAN GOODWIN

Hey, Im Megan and I’m the editor of LCL. I’m most excited for seeing the audiences reactions to the story - especially the ending twist.

Why we need funding

Filmmaking is a collaborative art form, and we’re bringing all the creativity, caffeine, and questionable early 2000s fashion we can find. While we’re fortunate to have access to some university resources, creating a high-quality film requires funding beyond what we can provide on our own. Here’s where your contributions will go:

Locations

A teen comedy lives and dies by its signature settings and we’re making sure ours feel authentic. Firstly we need the right school setting to capture the chaos of teen life in all its glory. Next is our main characters bedroom. Finally, no teen comedy is complete without a ridiculous romantic montage, and we’ve got some classic date locations lined up. We want to secure these locations and dress them with just the right amount of nostalgia, to feel like it came straight out of a 2000s time capsule.

Cinematography

We want this film to blend the vibrant world of Mean Girls with the pastel-chic aesthetic of Do Revenge, capturing the hyper-stylized look of classic 90s and 2000s teen comedies. To achieve this distinct visual style, we need additional lenses and stabilisers to portray an unreal look. Your support will help us capture and recreate this iconic aesthetic!

Production Design

The visual identity of the film is integral to the story. If we’re going to transport you back to a world of chunky flip phones and aggressively patterned furniture, we need to nail the production design. We aim to hunt down the perfect era-appropriate props, outfits, and set pieces that scream early 2000s teen chaos. From the protagonist’s over-decorated bedroom to the high school hallways where all the drama unfolds, every detail will add to the film’s satirical nostalgia.

Transport

Every good production needs a reliable way to get things moving—literally. From transporting our talented cast and crew to hauling the essential equipment that makes our film shine. Your contribution ensures that the set is prepped, packed, and ready to roll, letting us focus on what really matters: making this film as funny, authentic, and nostalgic as possible.

Distribution 

Once we’ve wrapped up shooting it’s time to share our film with the world. Festival submissions are a key part of the process, giving us the opportunity to showcase our film in front of industry professionals, fellow filmmakers, and an enthusiastic audience. This will require fees and additional promotional materials to ensure our film stands out in the crowd.

Every penny counts in bringing "Lights, Camera, Love" to life! Help us prove that audiences are ready for something new. By donating, you’re not just funding a film, you’re championing fresh, original stories. Join our two main leads in a world that feels as over-the-top (or painfully real) as Chris Crocker screaming into a webcam in 2007; it’s messy, unforgettable, and way ahead of its time. 

LIGHTS, CAMERA, LOVE: SIXTH TIMES THE CHARM